- Contributors to issue 3:1
Alexander Binns is Lecturer in Music at the University of Hull. His primary research deals with music in film and especially on the ways in which musical categories inflect and shape our understanding of culture. He is also interested in opera and, more generally, music as an interdisciplinary phenomenon: in its relations with space and geography, in particular the city, and its intersection with literature and visual culture. He also works on music in visual culture in Japan.
Gregory Booth is an Associate Professor of Ethnomusicology at the University of Auckland, specialising in contemporary South Asian music culture. He is the author of Brass Baja: Stories from the World of Indian Wedding Bands (OUP, 2005) and Behind the Curtain: Making Music in Mumbai’s Film Studios (OUP, 2008). In addition, he has published articles on film music, processional music, film structure, orality and music cognition, and the transmission of Hindustani classical music in journals such as Ethnomusicology, Asian Music, Popular Music, The Psychology of Music, and Asian Folklore Studies.
David Cooper is Professor of Music and Technology and Dean of the Faculty of Performance, Visual Arts and Communications at the University of Leeds. He has written monographs on Bernard Herrmann’s scores for Vertigo and The Ghost and Mrs Muir and is co-editor with Christopher Fox and Ian Sapiro of the collection CineMusic? Constructing the Film Score (Cambridge Scholars Publishing). He has recently completed a book on the musical traditions of Northern Ireland and a chapter on Trevor Jones’s score for In the Name of the Father.
James Deaville is Associate Professor in the School for Studies in Art and Culture: Music at Carleton University, Canada. His areas of research expertise include music for film and television, about which he has published contributions in Echo: A Music-Centered Journal, Music in the Post-9/11 World (Routledge) and Sound and Music in Film and Media: A Critical Overview (Continuum). He is currently editing a collection of essays about television music for Routledge.
Joey Eschrich is a doctoral student in the Women and Gender Studies program at Arizona State University. His research focuses on constructions of manhood and masculinity in popular culture, especially mainstream film and popular music.
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Guido Heldt studied musicology, art history and philosophy in Münster and as a visiting student at King’s College, London and at Oxford University. He completed his PhD in 1997 with a thesis on English early 20th-century tone poems. From 1997 to 2003 he was lecturer in music at the Free University Berlin, in autumn/winter 2003 visiting professor at the History Department of Wilfrid Laurier University, Waterloo/Ontario, and since 2004 he has been a lecturer at the Department of Music, University of Bristol. He is currently working on film music and narrative theory and on composer biopics; at the planning stage is a book about musical films in Nazi cinema.
Randolph Jordan is a doctoral candidate in the Interdisciplinary PhD Humanities program at Concordia University in Montreal, Canada. His research explores the intersections between film studies, electroacoustic music studies and acoustic ecology. His dissertation examines films that explore ecological issues through creative approaches to sound design. He has published essays on film sound in several anthologies, and is a regular contributor to the online film journals Synoptique and Offscreen. He is also a sound artist.
Tony Langlois teaches in the Media and Communication Department of Mary Immaculate College, Univerity of Limerick. His research background is largely concerned with ethnomusicology and the cultural politics of North African societies, although he has also published on similar issues in Ireland and Canada. Further details of his academic and other activities are available at his website:
Miguel Mera is widely published in music and moving image studies, from music in historical drama to the use of popular songs in contemporary cinema. His publications include European Film Music (Ashgate, 2006) and Mychael Danna’s The...